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Cry Pretty (Pre-Order)Pink Colored Vinyl
Cry Pretty is the sixth studio album by Carrie Underwood. The album is Underwood's first album with new record label, Capitol Records Nashville.$22.99Colored Vinyl LP - Sealed PRE-ORDER Buy Now
The Monument Singles CollectionImport
Roy Orbison is often credited with having one of the most powerful voices in Rock 'n Roll.
He certainly had one of the most distinctive ones; yet his operatic quavering and impressive range were used to portray a quiet and desperate vulnerability that was foreign to most of his rebelling, sex, drugs & rock'n'roll contemporaries.
This vulnerability is probably why he was so very popular in the '60s, and why after a dip of almost twenty years he could easily reclaim his prominence in the '80s. When David Lynch (in)famously used his song 'In Dreams' in Blue Velvet the public - and Roy himself - learned that there was a different side to his sultryness, and interest in his music was renewed. To celebrate what would have been his 75th birthday Music On Vinyl is releasing The Monument Singles Collection, with amongst others "Only The Lonely", "Crying", and of course "Pretty Woman".
• 180 grams audiophile vinyl
• Including the original mono mixes of Only The Lonely, Crying, It's Over, Pretty Woman and many more
• Gatefold sleeve printed with a bronze metallic layer
• Including printed innersleeves with a bronze metallic layer
• For the celebration of the 75th birthday of Roy OrbisonLP 1
2. Only The Lonely
3. Blue Angel
4. I'm Hurtin'
5. Running Scared
8. Let The Good Times Roll
9. Blue Bayou
10. Dream Baby
1. The Crowd
2. Working For The Man
3. In Dreams
5. It's Over
6. Oh, Pretty Woman
8. Pretty Paper
9. (Say) You're My Girl
10. Paper Boy
1. Pretty One
2. Here Comes That Song Again
3. Today's Teardrops
4. I Can't Stop Loving You
5. Love Hurts
6. Summer Song
7. Candy Man
8. Mean Woman Blues
9. The Actress
3. Distant Drums
4. Indian Wedding
5. Yo Te Amo Maria
6. Only With You
7. Beautiful Dreamer
8. Sleepy Hollow
9. With The Bug$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
A Love So Beautiful: Roy Orbison & The Royal Philharmonic OrchestraA Love So Beautiful: Roy Orbison & The Royal Philharmonic Orchestra, produced by Don Reedman and Nick Patrick, features elegant and spirited arrangements of Roy's best original vocal performances with the emotion and world-class musicianship of London's most beloved orchestra, The Royal Philharmonic Orchestra on 2 LP vinyl.
A Love So Beautiful includes the timeless Roy tracks Oh, Pretty Woman, You Got It, Crying and more while breathing new life into fan favorites such as Drove All Night and the title track A Love So Beautiful. Additionally, the album will feature instrumental backing from Roy's boys: his three sons Wesley, Roy Jr. and Alex; plus Roy's grandson Roy Orbison III.1. Blue Angel
3. Dream Baby
4. I Drove All NIght
5. I'm Hurtin'
6. In Dreams
7. It's Over
8. Love Hurts
9. Mean Woman Blues
10. Oh, Pretty Woman
11. Only the Lonely
12. Running Scared
13. A Love So Beautiful
15. You Got It$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Ultimate Collection (Awaiting Repress)150 Gram 2xLP In A Gatefold Package
Roy Orbison - The Ultimate Collection is the most definitive career-spanning collection of hits by Rock & Roll legend Roy Orbison and for the first time ever, includes tracks from the Sun, Monument and MGM years, plus songs from Roy's incredible late-career works, both solo and with The Traveling Wilburys all on one collection. The Ultimate Collection is comprised of singles from Roy's Monument, MGM, & Sun Records catalog and the tracklisting has been lovingly compiled by Roy's son Alex Orbison. The collection features the hits "Pretty Woman," "You Got It," "Crying," "Only The Lonely" and "In Dreams" plus more. This collection also features The Traveling Wilburys tracks "Not Alone Anymore" and "Handle With Care."LP 1
1. Oh, Pretty Woman (Album Version)
2. I Drove All Night
3. You Got It
5. Only the Lonely (Know the Way I Feel)
6. In Dreams
7. Love Hurts (Album Version)
8. Claudette (Album Version)
9. Blue Bayou
10. Dream Baby (How Long Must I Dream)
11. Walk On (Remastered)
13. Running Scared (Album Version)
14. California Blue
1. Leah (Album Version)
2. Mean Woman Blues (Album Version)
3. Crawling Back (Remastered)
4. Ride Away (Remastered)
5. Too Soon to Know (Remastered)
6. She's a Mystery to Me
7. Blue Angel (Album Version)
8. It's Over (Album Version)
9. Ooby Dooby - Roy Orbison & Teen Kings
10. Heartbreak Radio
11. Not Alone Anymore - The Traveling Wilburys
12. Handle with Care - The Traveling Wilburys$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
NachashSigned to Spinefarm Records worldwide and featuring members & previous members of Cry For Silence, Hexes, Gallows & SikTh, Krokodil have just put
the seal on their debut studio album.
With all of the personnel coming complete with 'other lives', it's taken a genuine commitment to the cause to launch something new, plus a collective
excitement at what that 'something new' might be in this case, a record that, according to Krokodil guitarist Daniel P Carter of Radio One Rock Show
and Hexes repute, "will be the start of something pretty special ".
Flanking Carter on beards, riffs, rhythms and roars are a choice selection of players whose many and varied abilities to make a glorious racket are already
well documented; there's the SikTh rhythm section of Dan 'Loord' Foord (drums) and James Leach (bass); there's Cry For Silence guitarist, Alessandro
Venturella; Laurent Barnard, from the heady world of Gallows; and upfront at the mic, Liber Necris vocalist Simon Wright, the six coming together to
create a body of work that succeeds in marrying brutal aggression to haunting melody, heavy groove and coiled-spring dynamics; music that isn't afraid to
(sometimes) take the less travelled path1. Shatter
2. Skin Of The Earth
3. Dead Man's Path
4. A Life Live In Copper, But Painted In Gold
5. Reptilia Familiar
6. Porcelain Bones
7. The Collapse
8. Sleep Well, Medusa
10. Sun Riders
12. Phyllotaxis$25.99Vinyl LP - 2 LPs Sealed Buy Now
Exploding HeadExploding Head is A Place To Bury Strangers' sophomore album and first for Mute. The band had one simple goal during the recording process: The original idea, says vocalist/guitarist Oliver Ackermann, was to create the craziest, most f'ed-up recording ever.
In late 2008, shortly following a support slot on MGMT's U.K. tour, APTBS began tracking new songs at Death By Audio, the rehearsal/recording/living space that Ackermann helped build in 2005. The DIY-or-die building is also an independent venue and the headquarters of Ackermann's Death By Audio company, a customized guitar pedal manufacturer that counts U2, TV on the Radio and My Bloody Valentine among its many happy customers.
During the Exploding Head recording process engineer Andy Smith (Paul Simon, David Bowie) took the band to a whole other level says Ackermann. I love the interplay and contrasts between something that's pretty and something that's scary, he explains. Taking listeners to different places, even in one song, is so important, whether it makes them cry or pissed off. If you listen closely, some of the riffs on this record are actually like Ramones songs or '60s bubblegum pop.1. It Is Nothing
2. In Your Heart
3. Lost Feeling
5. Keep Slipping Away
6. Ego Death
7. Smile When You Smile
8. Everything Always Goes Wrong
9. Exploding Head
10. I Live My Life to Stand in the Shadow of Your Heart$20.99Vinyl LP - Sealed Buy Now
Once Upon a Hell of a Time...Enigmatic singer-songwriter and Canada's own rock'n'roll son, Matt Mays returns with a brand new studio album, his sixth, Once Upon a Hell of a Time. Matt co-produced the record with collaborator Loel Campbell (Wintersleep). This new album follows up the award-winning Coyote, which landed Matt a 2014 JUNO Award for Rock Album of the Year.
Constantly on the move, Matt recorded Once Upon a Hell of a Time all over North America with sessions in California, British Columbia, Ontario, Quebec, Nova Scotia and New York.
"The full album has a pretty strong theme or feeling and I wanted that to come across right away," says Matt. "This is party rock for the heartbroken. And you can't leave a party short of tunes, or better yet, you can't leave the sad and lonely folks with just one song to cry to. So, why just release one song when you can leak four?!"
After departing the seminal alt-country collective The Guthries back in 2002, Matt alternated between solo projects (his self-titled debut, the faux soundtrack When the Angels Make Contact) and band projects (the now legendary Matt Mays & El Torpedo record and 2008's Terminal Romance). Following the dissolution of Matt Mays & El Torpedo in 2009, Matt released Coyote in 2012.LP 1
1. Trust Life
2. Sentimental Sins
3. Faint of Heart
4. Drive On
5. Howl at the Night
6. NYC Girls
7. Dark Promises
1. Perfectly Wasted
2. Drunken Angels
3. Ola Volo
4. 78's, 33's & 45's
5. Station Out of Range
6. Never Say Never$25.99Vinyl LP - 2 LPs Sealed Buy Now
Holographic ViolenceIn the five years since Grave Babies' debut album Deathface was released, founder Danny Wahlfeldt has been handling all songwriting and recording duties for the Seattle-based band, with invaluable help from friends in performing their material live. For their newest album entitled Holographic Violence, Wahlfeldt chose a different path, causing a significant change in the band's overall sound.
Holographic Violence is Grave Babies' second Hardly Art full-length after Crusher (2013), and further explores the themes of nihilism, the pending doom of mankind, and shaming humanity, which the band has been building their gloomy reputation on since the beginning. This time however, instead of recording everything in his basement, Wahlfeldt enlisted the help of Bryce Brown (Crypts) on bass and Mark Gajadhar (Blood Brothers, Past Lives) on drums in the early stages of recording. The songs on Holographic Violence fell into place in Mark's studio on Orcas Island, Washington. Mixing was handled by Matt Bayles (Alice in Chains, Mastodon), with final mastering by Chris Common (Chelsea Wolfe, Mars Volta). As a final touch, Claire Haranda was added to the lineup on keyboards and synth to round out the band's live sets. By leaving the edgy, lo-fi haze of earlier output in the past, these songs have clarified what the music of Grave Babies has to offer the future.
That is, if humanity has a future?
"I wanted it to be a last cry for sanity going into our dystopian future," Wahlfeldt says about Holographic Violence. Grave Babies has long held a crush on morbidity, death, and corruption, building a romantic relationship around the juxtaposition of the dark contextual matter with hook-heavy songs rife with pretty melodies and harmonies. The 11 new songs on Holographic Violence present this powerful combination from a science fiction perspective, begging the question: has our imagination outpaced the confines of our reality as we keep going down the same path, believing there's hope? Playing anthemic pop songs with a strange male choir-esque sound to the vocals adds a distinctly cultish feel to the abrasive exercise of figuring out if it is possible to circumvent destructive human predispositions.
Thus, Holographic Violence is a lesson in authenticity as we must look deeper into the subject matter for the finer details, instead of skimming the surface and believing we have things right at a mere glance. Maybe we just have to come to terms with the fact that the things that we're constantly running away from are inherent in ourselves and inescapable? Grave Babies mission is not to find the answers to these questions, but to challenge the listener and on Holographic Violence, their uncompromising aesthetic makes the suffering a little prettier.1. Eternal (On & On)
2. Beautiful Lie
3. Try 2 Try
4. Something Awful
5. Punishment (Only A Victim)
6. Metal Me
7. Pain Iz Pleasure
8. Positive Aggression
9. N2 Ether
10. Concrete Cell
11. War$14.99Vinyl LP - Sealed Buy Now
Don't Press Your Luck! The In Sound Of 60's ConnecticutConnecticut had a solid garage rock scene in the mid-'60s, and more than a few of the best bands in the region logged time at Wallingford's Trod Nossel Studios (aka Syncron Sound), a recording facility run by Thomas Doc Cavalier, truly an unlikely champion of local rock & roll. Cavalier was a successful dentist who gave up his practice to manage New England rockers the Bram Rigg Set and the Shags (not to be confused with the infamous Wiggin sisters), and when Syncron Sound (where both bands had recorded) fell on hard times, he bought the studio, changed the name, and turned it into a profitable business that's still running today.
Don't Press Your Luck! collects material from a handful of New England acts who recorded at Trod Nossel and were overseen by Cavalier, and there's little arguing that the folks at the studio knew their stuff -- compared to many compilations of '60s garage rarities, these tracks sound lively and robust, crackling with teenage energy but recorded with a skill that didn't blunt the enthusiasm of the musicians. (Bob Irwin's superb remastering is also to be commended.) And the music is pretty great, too -- the Wildweeds' classic No Good to Cry (featuring a pre-NRBQ Al Anderson) is the standout here, but there's also some moody beat stuff from the Shags (Don't Press Your Luck, Hide Away), fuzztone-powered angst from the Bram Rigg Set (Sleepless Nights, You Don't Love Me, and a potent cover of Them's I Can Only Give You Everything), and intriguing weirdness from the misanthropic Fourth Ryke (Please Leave, You're Cutting Out).
While you'd expect high goofiness from a group called Uranus and the Five Moons, their material is actually smart and adventurous (Nothing Remains, SSS Happenin' Here). Some radio spots recorded at Trod Nossel also make the cut, as does a demonstration of the wonders of multi-track recorded based around a session by the Shags. Garage fanatics and folks with a taste for Connecticut history will both find this set to be well worth investigating.1. I Can Only Give You Everything: Bram Rigg Set
2. Don't Press Your Luck: The Shags
3. Help Me: George's Boys*
4. Too Many Lies: The Lively Ones*>
5. Take the Time Be Yourself: Bram Rigg Set
6. Hide Away: The Shags
7. 'SSS' Happenin' Here: Uranus and the Five Moons*
8. Sleepless Nights: The Ravens*
9. You're Cutting Out: Fourth Ryke*
10. I've Paid My Dues: The Bearies*
11. Radio Spot: WAVZ Radio Jingle: The Shags
12. No Good to Cry: The Wildweeds
13. Think: The Lively Ones*
14. I Can't Explain: Bram Rigg Set*
15. Breathe in My Ear: The Shags
16. Please Leave: Fourth Ryke*
17. Radio Spot: Specter's Radio Ad: The Shags
18. Nothing Remains: Uranus and the Five Moons*
19. You Don't Love Me: Bram Rigg Set*
20. Come Back to Me: The Shags*
21. LUV: The Roadrunners*
22. I'm Dreaming:The Wildweeds LP Bonus Track
23. Your Groove: Uranus and the Five Moons LP Bonus Track
24. Hey, Little Girl: The Shags LP Bonus Track
25. Sticks and Stones: George's Boys* LP Bonus Track
26. Bad News for Me: The Bearies* LP Bonus Track
27. Make a Record with the Shags: The Shags*$36.99Vinyl LP - 2 LPs Sealed Buy Now
Angels & DevilsIt's after the end of the world, don't you know that yet...
With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.
The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.
The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.
With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...
Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....
The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.
Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.1. Void (Featuring Liz Harris)
2. Fall (Featuring copeland)
4. Mi Lost (Featuring Miss Red)
6. Save Me (Featuring Gonjasufi)
7. The One (Featuring Flowdan)
8. Function (Featuring Manga)
9. Fuck a Bitch (Featuring Death Grips)
10. Fat Mac (Featuring Flowdan)
11. Fuck You (Featuring Warrior Queen)
12. Dirty (Featuring Flowdan)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Parting GlancesIn 2010 Nicole Schneit aka Air Waves released Dungeon Dots, an album Aquarius Records called pretty much perfect pop music. For her new album Parting Glances, Schneit enlisted friends from Brooklyn's music community to contribute to the record, including members of Woods, Crystal Stilts, Ava Luna, and Hospitality. Additionally, Jana Hunter of Lower Dens contributes vocals to two songs. The album's title comes from the 1986 film Parting Glances in which Steve Buscemi portrays a gay man navigating the difficulties of being in a relationship in Reagan-era New York. More than just identifying with the story, Schneit is interested in the in the lasting effect of the parting glances we share with strangers in our everyday encounters. She explains You see all sorts of physical and emotional traits on the train. From people puking, making out, screaming, crying, laughing, dancing, grooming, etc. We encounter each other in the thick of our complex lives by simply looking at each other all the time. These glances are mundane and fleeting but also powerfully intimate. The lingering impact of those brief moments seeps into the details and imagery she delivers with energizing hooks and a disarming lack of pretense on Parting Glances.1. Horse Race
6. Milky Way
7. Touch of Light
9. Sweet Talk
11. 1000 Degrees
12. Tik Tok$18.99Vinyl LP - Sealed Buy Now
Doin' It To DeathFor starters, this platter begins with one of the great intros of all time: "Ladies and gentlemen, there are seven acknowledged wonders of the
world. You are about to witness the eighth "
Lodged in a deep groove between the JB's' debut LP Food For Thought (1972) and the more complex and at-times political Damn Right, I Am
Somebody (from 1974) sits the ridiculously vampy and infectious classic, Doing It To Death. First moving hips and making heads nod in 1973,
the James Brown-produced, 5-song album is one big funk lick, broken up into many delicious moving parts.
As with pretty much everything produced by the JB's - led by Fred Wesley with heavy help from a supporting cast that included saxophonist
Maceo Parker, guitarists Jimmy Nolen and Hearlon "Cheese" Martin and drummer John "Jabo" Starks - all songs began and revolved around
a devastating riff. The title track is most certainly guilty-as-charged, as it starts strutting right out of the gate and continues for just over 10
minutes, driven by a guitar lick and MCed by the inimitable James Brown, with soloists stepping up and out while the song chugs on.
The other centerpiece of the album is the 8-minute "You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight," whose groove is
interestingly teased two times before it arrives in full form. The song title itself is provocative, and the music keeps a stone-cold groove despite
the less than cheery undertones. Again driven by an infectious guitar morsel, the breakdowns in this song gave sampling producers and DJs
sweet dreams in the '80s, and Fred Wesley's trombone solo rides beautifully over the group's cries of "We need some money."
Beyond the aforementioned sure-shots, the twitchy "More Peas," "La Di Da La Di Day" and the much jazzier, solo-heavy "Sucker" round out
this incredible album. It's just another perfect example of how James Brown's funk machine could stop the world when they hit a groove.
This title is not eligible for discount.1. Introduction To The J.B.'s
2. Doing It To Death - Part 1 & 2
3. You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight
4. More Peas
5. La Di Da La Di Day
6. You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight
8. You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight$19.99Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Kiss: MTV UnpluggedCelebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl
starting in 2014. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
been faithfully reproduced for the KISS Army.
On April 10, KISS will be inducted into the Rock and Roll Hall of Fame - which will be broadcast in May -
and then will kick off a summer co-headlining tour with Def Leppard starting in June.
After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion. Throughout this record, you can feel the support and raw adoration of the audience present, certainly a mixture of long-time fans and new admirers. The members of Kiss got together to rock hard on their axes and crash big on the drums, bringing a renewed sense of freshness and excitement. Nearly rock & roll legends, they exceeded expectations and, given their newfound energy, charisma, and love for the music, their performance provided the catalyst for the beginning of a successful world reunion tour. Coming Home delivers a feverish and electric opening that gets the crowd on its feet in a hurry. Soon the emotion and presence of this group are brought back with startling grace and wisdom on Plaster Caster, and the beautiful acoustic medley Goin' Blind. The decades of Kiss, their costumes, and their wild stadium shows roll back in a heartbeat through the crashing tune Do You Love Me. Perhaps one of the most bewildering tunes that really reflects the image of Kiss is the rocking blues tune Domino. The crowd is really fired up now, next experiencing the charming and soulful power rock ballad Sure Know Something. A World Without Heroes is very subdued and reflective. Rock Bottom is delicate and mysterious in the opening seconds, with a lush minor harmony delivered picking style on the acoustic. Now it gets rough, expresses Stanley, grooving in a racy blues statement. See You Tonight is a romantic and pretty ballad delivered with sweetness, and the group sings, I'll see you tonight/And if I can't, I'll cry, I'll cry/I see you tonight, outside. Then on comes the darker resonance of the band with I Still Love You, expressing grave longing after a grueling breakup. I got to make you see, is a gripping line in a haunting bridge section, before the shouted, emotional, sometimes painful chorus: Girl, it seems the price I have of losing you/Will be my hell to pay/It makes me want to die/'Cause I still love you. The solo during the bridge is reminiscent of the chord structure of the Guess Who's Undun. After this painful, depressing song, new breath is found with Every Time I Look at You, a song of forgiveness, delivered with sincerity and the feeling of hope: Every time I hold you/The things I never told you seem to come easily/'Cause you're everything to me. The bridge is brilliant and seems to elevate the melody to a gratifying level, before breaking into a chilling guitar improv, layered over with a shimmering string orchestra. Beth is the most heartwarming song of Kiss' power ballads: Beth I know you're lonely/And I hope you'll be alright/'Cause me and the boys will be playing all night. Finally, a Kiss show wouldn't be complete without the ultimate party song, Rock and Roll All Night, a tune still electric without electric guitars.
- Shawn M. Haney (All Music Guide)LP 1
1. Comin' Home
2. Plaster Caster
3. Goin' Blind
4. Do You Love Me
6. Sure Know Something
7. A World Without Heroes
8. Rock Bottom
1. See You Tonight
2. I Still Love You
3. Every Time I Look At You
4. 2,000 Man
6. Nothin' To Lose
7. Rock 'N' Roll All Nite
8. Got To Choose$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Lover, Beloved: Songs From An Evening With Carson McCullersWhen Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.
"I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."
The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.
But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.
Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.
In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."
Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."
"12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.
With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis1. Carson's Blues
2. New York Is My Destination
3. Instant of the Hour After
4. We of Me
6. 12 Mortal Men
7. Harper Lee
8. Lover, Beloved
9. The Ballad of Miss Amelia
10. Carson's Last Supper$18.99Vinyl LP - Sealed Buy Now